This invention pertains to improving the rideability of road bicycles by improving prevailing dominant art. Specifically relegating Diamond 473,829 to history. This indomitable unduly harsh rear frame art has dominated since conception due to the unsurpassed efficiency in the snapback resilience inherent in triangulated light steel stays. The world was young and had fallen in love with bicycles, so it was embraced unconditionally and hears little criticism today. But despite longevity, Diamond art was not fully embraced, as the triangulated rear frame section leaves the seat stays in a direct line of shock from the axle to the base of the spine, via the seatpost. Uncomfortable? Yes. And stays behind the seat tube add little to the rigidity needed to stave off flex induced leg cramps. Collins 544,427 shows a bicycle with Diamond art that is identical to contemporary art. Nothing has changed in over a century, the same strengths and weaknesses are still intrinsic. The dilemma one is confronted with in improving bicycle art is solving the improbable mix of resilience and rigidity: resilience for comfort and rigidity at the cranks for efficiency. Opposites in the same light weight frame that have to be melded without cancelling each other out.
There has always been need for improvement in Diamond art. The demand for light weight bicycles resulted in a frame too flexible to maintain wheel alignment. Two long thin tubes, the top and down tube are insufficient to maintain head tube rigidity, inducing fork flex that prescribes slow, vague, inaccurate steering. Yet, despite these flaws, this art became derigueur and, as decades passed, attempts to displace it were futile.